Tuesday, January 31, 2006
Saturday, January 21, 2006
Stillness — a morning song forgotten by mankind.
Stillness — the sound of eternity amidst the cries of the earth.
Stillness — the invisible door to the silence.
Friday, January 20, 2006
Through Beauty we pray!
With Beauty we conquer!
Tuesday, January 10, 2006
- Should an art critic write about artists whose work they collect?
- Should an art critic fraternize with artists they write about?
- Should they accept gifts from artists they’ve written about, be an exhibition consultant, sit on boards of visual arts organizations, or exhibit their own artworks?
According to “The Visual Art Critic: A Survey of Art Critics at General-Interest News Publications in America” by Columbia University’s Journalism Program in 2002, there was no consensus among the 169 art critics surveyed (myself the only Indianapolis representative) regarding blanket ethical conduct within the American art world.
- Can anyone who can afford rent at a trendy studio be an artist?
- Are gallery owners and proprietors actually qualified to choose quality art to present to the public just because they can fund their venues?
- Who is drawing the line between hobby and excellence?
- Should critics simply relinquish themselves to this laissez-fare intellect regarding the fine art process and art history thereby giving artists and venues the praise they ultimately fancy?
- Where does criticism fit in and who really wants it anymore?
Indianapolis appears to be succeeding at placing novelty (or propaganda at times) above discrimination. The survey makes an example of our city by stating, “Citizens of significant urban agglomerations, including Indianapolis and Las Vegas…do not have the benefit of hearing from an art critic who might qualify for inclusion in this survey,” from a daily paper. This perhaps in part because formal criticism doesn’t serve the city’s desires to make Indianapolis a cultural destination overnight. However, celebrating the mundane won’t make it happen either. Though art critics across the board thought they were writing for a “lukewarm audience that is not too well steeped in the arts,” nearly two-thirds unfortunately write strictly positive reviews, with “rendering a personal judgement” about the artwork being “the least important factor in reviewing art.” It’s a sorry commentary that’s ultimately destructive of the arts evolution (like Indianapolis’ visual art growth spurt), and the art itself. So are gallery openings where the art plays second fiddle to the party.
- Are arts writers accepting expenses on press junkets?
- Are papers merely supposed to conform, jump on the promotional bandwagon, and be another form of advertising?
Perhaps this is an indication that some “critics” should park their pens or thicken their skin. Perhaps local media should give more space and credence to the visual arts cultures of their communities, and artists should challenge themselves to create more than attractive formula paintings accompanied by contrived statements of purpose. Local eagerness to be exceptional in the visual arts has created levels of administrative and artistic inferiority that can be remedied by demanding quality and education from those that serve the arts community, critics alike. Inferring that arts audiences and potential arts audiences are un or under educated (as is the rhetoric from artists and arts orgs.) only serves to insult and estrange audiences…as does substandard art. Friday, November 11, 2005 posted by Mary Lee Pappas at 7:31 AM
Friday, January 06, 2006
- How, as we go along, is India's creative capital to be rescued from the oblivion of excessive visibility?
- How shall we evolve forms of attention that enhance aesthetic experience, rather than killing it?
- How will creative individuals find communities that sustain them, rather than relying on fan clubs that cannibalise them, or remaining trapped in ghettoes where familiarity has long ago bred an aesthetic complacency that is far worse than contempt?
- How are writers to win the space of retreat, and artists to secure the repose so necessary for them to tap the deep springs of their art, to maintain contact with the operative rhythms of their work?